In Conversation With American Photographer Karen Knorr

When I first visited India in 2008, I was struck by its abundant wildlife and heritage. Over the past 15 years, my return trips to Rajasthan have revealed the vastness I've yet to explore. My goal was to fuse India's contrasts—its culture and nature—through photography. Animals in my work embody myths or symbolise marginalised communities, highlighting unequal access. I used India's palace interiors and referencing miniature paintings to celebrate its visual culture. Drawn from Mahabharata and Ramayana, my photos like "Arjuna’s Arrow" capture timeless narratives. The ruins of Vijayanagar also intrigued me.

The essence of my approach lies in a nuanced strategy. Directness isn't always my aim; I intend to expand the audience's perspectives. My work often employs one story to convey another, cultivating depth. "The Lovesick Prince" references a lovesick princess miniature, intertwining narratives with a playful touch. Achieving equilibrium between tales is pivotal. "Sita’s Wish," captured within Dungarpur Palace, portrays a moment from the Ramayana—Sita deceived by Ravana's golden deer. This strategy has evolved from my four-decade-long journey in documentary work.

Certain animals within my work were captured within Indian zoos, such as the Delhi Zoo. Over the years, my visits there have unveiled notable improvements while retaining an endearing chaos. Witnessing families enjoying picnics on the ground adds a charming layer to the environment.

To depict tigers, I've ventured to Ranthambore and Bandhavgarh, with Bandhavgarh leaving an indelible impression. Lions found their way into my compositions after I visited Bannerghatta National Park on Bengaluru's outskirts.

Photographing wildlife demands unwavering dedication, with multiple returns to attain perfection. Patience is paramount in this challenging process.

India's diverse cultural heritage, blending sacred and secular architecture like Ranakpur Tirkha to Shekhawati's havelis, fascinated me with its amalgamation of styles—zanana, mardana spaces, Islamic, Hindu, Greek, and Rajasthani elements. Amidst the wildlife richness of leopards, black bucks, and cranes, rampant development imperils their existence. "India Song," my series, harmonises culture and nature amidst economic expansion. Returning to Deogarh unveiled mining's erosion, while Rajasthan's farmers battle climate shifts and locusts. "The Locust Eater" artwork symbolises this, referencing Indian miniatures and Jataka tales. Deogarh, Nawalgarh, and Dungarpur landscapes complement this narrative. "India Song" weaves a heritage celebration, from architectural syncretism to women's space, avoiding stereotypes through humour and magical realism. India's enchanting essence lies in its syncretic soul.

Our Rajasthan expedition spanned 2,000 kilometres, navigating the landscape in a compact Maruti Suzuki, driven by Annu from Shimla. Accompanied by dear friend Juliette Wilson, we meticulously planned our journey, cost-sharing and tailoring our route through Rajasthan. Commencing in Delhi and culminating at the Imperial Hotel, this venture was a testament to customization.

Our path led us to Samode Palace, Jaipur, Ramgarh, Fatehpur, Nawalgarh, Bikaner, Phalodi, Jodhpur, Osian, Jojawar, Udaipur, Deogarh, Bharatpur, Agra, before returning to Delhi. Despite brief stays, I captured essential shots and savoured the essence of Rajasthan.

Mostly in wildlife reserves such as Satpura National Park (Reni Pani Lodge), Bandhavgarh (Samode Safai Lodge), and Keoladeo Bird Sanctuary in Bharatpur (The Bagh). We stayed in the Lutyens Bungalow in Delhi and with friends in Bangalore. I loved staying in Udai Bilas Palace in Dungarpur.